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GÁBOR ŐSZ: The Picture of Light, 2022
Camera obscura installation, bulb, MDF, variable dimension
The camera obscura may be the most original and obvious device to realise the transformation between reality and image. The image of light is at the same time the source of light In this experiment, which is aimed at interpreting the concepts of light and image. In this ontological system the subject of the picture is the light bulb, whose own light serves to present itself. The concept of self-image is based on the logical idea that the image of light also needs light to reveal itself. This is the simultaneous coincidence of the source of the light and the image of the light.
The picture of light is made in the dark. Without light there is no visual manifestation, and without darkness there is no picture. Light both shines and transmits. The photograph manifests the duality of a binary reference. Like light itself: where there is light, there must also be shadow. A picture written with light as its medium fundamentally mediates the experience of reality, and through this makes our existence visible. However, the photograph did not become the authentic image of reality but rather the aesthetics of light.
Barnabás Bencsik
Courtesy of the artist and the Vintage Gallery, Budapest
GÁBOR ŐSZ: Tautology, 2012
Video projection, 6’37”
In the initial scene of the film white light is projected onto three walls of a room by three projectors. The number of projectors refers to the spatial dimension bounded by planes as well as to the visual and spatial relationships accumulated by the recordings. Since each of the walls shown in the film serves as a projection surface, we can shift our gaze from one projection surface to the other, allowing us to have a more complex perception about the connection between space and image. 
The illusion of the encompassing space filters into the uncoded white squares, creating a tautological sign, in which the picture of the film shows the place of the recorded image in space. A coordinate system marking the relations between picture and space gradually develops, and the projection of newer and newer recordings multiplies the complexity of movement resulting from the repeated projection of recordings surveying the picture and the surrounding space.
Bencsik Barnabás
Courtesy of the artist and the Vintage Gallery, Budapest